Характерні концепти творчого методу Бели Бартока у творах для фортепіано з оркестром
Characteristic concepts of the creative method of Bela Bartok in the works for piano and orchestra

Summary/Abstract: This article reviews the main means of expression specific to namely Bartok, in which he embodies his philosophical ideas. Used works of S. Sihitov, W. Holopova, B. Bartok allow to discover more deeply the essence of the question posed. In the works for piano clearly reflected Bartok’s world that does not evolve in the traditional sense, changing and transforming, and enriched and developed to a level that indicates the unique connection of his "macro"- and "microspace". It was in this, in our opinion, is the relevance of this article. The aim of the article is to examine the components of Bartok's creative method that has evolved namely in the works for piano and orchestra. These are seven large forms in which his composing method manifested in the most versatile way. Following the tradition of Liszt and the composers of "after-romanticism", composer represented precursors found in the new quality, a bright future and architectural style. Bartok’s style is closely related to national roots of Hungarian peasant songs and folklore of other nations that Bartok carefully studied and systematized. Piano works of Bartok accompanied him throughout his life at home and in exile. His work as pianist was recognized long before his musical success. The piano style of Bartok in the context of Hungarian piano school is a unique phenomenon and a new stage in its development. Continuing the traditions of, above all, his teacher J. Toman, who was a direct artistic successor of Franz Liszt and F. Erkely and A. Sandy, Bartok said a new word in the performing piano style not only nationally, but also globally. First of all, it concerns his attitude to performing rhythmic side of a piece of music to unsolved instrument timbre possibilities. A new attitude toward the piano as a universal tool that can transfer palette of different character and nature sound systems. It was not only orchestral interpretation of the piano, and even more – the search for new expressive timbre of his opportunities (with an emphasis on shock rhythmic component). As a follower of Liszt, Bartok in his work also combines the ideas of national and European culture, which is reflected in a range of genres of his works, including the early period of creativity. The beginning of his musical activity was also associated with works for piano, these were small pieces and simple cycles of piano miniatures, of which a significant part consists of works for children and youth. Also, the first musical experiments were devoted to chamber vocal and chamber instrumental genres, the first experiments orchestral works, that we see that the piano genres occupy the same position as the other. This conversation equality observed in later periods of the composer. Bartok belongs to the particular creators, whose beliefs, including the philosophical, religious and political views were pantheistic ideas related to the existence of the creator of the world in the material and spiritual manifestations of this world. However, in the system of values is a clear distinction between true and false, and, above all, he dealt with social formations and modes of social life in his country. As soon as he realized that there is a primary, pristine, inexhaustible and a priori as traditional Hungarian music culture, he began to study it, got it systematization, classification and preservation. He realized that the rural culture (not only music, but also financial, moral) is an integral and inseparable system of primary human values. For Bartok the peasant way of Hungarian people living in the outback, far from cities, was a source of inspiration, testimony was true (in the broadest sense of the divine, but the composer was opposed to bourgeois Catholicism is against the tragic events and disasters early twentieth century seemed to him full hypocrisy). Folkloristic activities Bartok was an expression of his pantheistic views, which he expressed in the press and in public, is focused on her all creative attraction Bartok, composer, since the beginning of the field work he has not separated the folk music of his work, considered himself a part of it, and their duty – to subordinate their own creativity composing these ideas. Bartok believed that rural life is inseparable from the life of the laws of nature, it does not affect the flow of the natural cycle and the beginning of harmony, nature as a separate subject or as a range of artistic images of his works are not too interested in the composer, he considered the relationship between farmers and nature harmony model. Creativity of Bartok in their evolutionary development demonstrates a gradual shift away from the dominance of the traditional major-minor diatonic, which was subordinate to the modal diatonic, towards the full emancipation modal system based on melodic deployment, which are subject to vertical ratio of invoice. Phonetic and syntactic properties of the Hungarian language, which is not part of the European family, is directly influenced by the rhythm of folk music that is strikingly different from other peoples tunes, even according to Bartok, Hungarian intonation family. This includes accentuation, which leads to rhythmic musical structure consolidation or reduction, rhythmic and metrical irregularities, changes in dynamic range. The architectonics of the works composed by Bartok has an unusual feature not characteristic for European musical thought, although at first glance it may cause controversy. Our assumption is that Bartok is one of the few composers capable on its own to create a climactic zones. Unlike the traditional approach is more or less the culmination of extensive training in Bartok often it occurs without preparation, suddenly.

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